Producer Tech Specs 8-2011

DISNEY ABC CABLE NETWORKS GROUP

ORIGINAL PRODUCTION

TECHNICAL REQUIREMENTS

Table of Contents

1. HD FILE MASTERING SPECIFICATIONS……………………… 2

2. AUDIO SPECIFICATIONS………........…………………………. 7

3. AUDIO MASTER DELIVERY….…………………………………. 11

4. FORMAT…………………………………………………………….. 16

Producer Tech Specs 8-2011 2

PRORES HD MASTER 1080p FILE SPECIFICATIONS

HD FORMAT:

All HD Digital Masters are to be delivered as ProRes (HQ).

ASPECT RATIO:

All HD Digital Masters are to retain original source aspect ratio of 16x9.

FINAL CUT PRO VERSIONING REQUIREMENT:

All Digital Master files must be created on machines that are running Final Cut Pro version 7.0.3 or later. Any files

that that are created on earlier versions of Final Cut Pro will be subject to rejection by DATG.

VIDEO ENCODING SPECIFICATION:

File-based HD video media shall be encoded using Apple ProRes HQ encoder, using the preset described as “Apple

ProRes 422 (HQ) 1920x1080 24p 48kHz,” which has the following specifications:

Compressor: Apple ProRes 422 (HQ)

Frame Size: 1920x1080

Field Mode Progressive

Frame Rate: 23.98fps

Field Dominance: None

Pixel Aspect Ratio: Square

Color Depth: 10-bit

Data Rate: Unconstrained VBR

Video Quality: 100%

Time Code: Non-drop-frame

VIDEO SIGNAL SPECIFICATIONS:

First Active Line: Line 21

Last Active Line: Line 560

Maximum Luminance: 714mV

Maximum Chrominance: N / A

Picture Black: 0mV

Color Display: SMPTE 274/ITU 709

AUDIO ENCODING SPECIFICATION:

File-based HD audio media shall be PCM encoded, using the following specifications:

Audio Rate: 48kHz

Sample Depth: 24-bit

Number of Channels: 12

Audio Assignment Setting (In Metadata): each audio channel essence should be „Discrete‟.

WRAPPER:

File-based HD media shall be wrapped using the Quicktime wrapper. Time Code shall be preserved as a track in the

Quicktime file

AUDIO SAMPLING RATE:

All audio will be sampled at 48kHz unless source was originally recorded at a 44kHz sampling rate.

AUDIO LEVELS:

There should be no sustained (longer than 1 second) audio level peaks above +12dB over reference (0dBu, or -

20dBFS.) However, brief peak audio levels within the 5.1 mix may reach +20dB over reference, provided there is

no signal distortion. Normal conversational dialogue is to stay within +2dB and +7dB over reference (see AUDIO

SPECIFICATIONS in below section).

Producer Tech Specs 8-2011 3

FILE NAMING:

Please keep the original file names brief: Series Title, Domestic Number, International ‘F0’ Number. Episode

titles are not necessary. As follows:

Pair Of Kings_ 2-03_F024

If the file needs to re-deliver with QC fixes or is revised in any way, please put “R1” a the head of the file. As

follows:

R1_Pair Of Kings_ 2-03_ F024

If there are multiple re-deliveries of the file, please put the appropriate “R2” or “R3” etc, at the head of the new file

and so on.

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HD TECHNICAL SPECIFICATIONS

All original HD material will be delivered in the format of 1080 PsF (progressive-segmented frame) with

4:2:2 color sub-sampling ratio. It must have a resolution of 1920 pixels (horizontal) by 1080 pixels

(vertical). The frame rate is to be 23.98 frames per second. All footage shot with an HD video camera

must be captured at a full resolution of 1080 lines, at 23.98 fps. All footage shot on film must be

transferred in 1080 line resolution, at 23.98 fps. Any deviation from this specification will not be accepted

unless pre-approved by the Media Distribution and Technical Operations Department.

ASPECT RATIO

All original HD programming is to be shot and mastered with the aspect ratio of 16x9, otherwise expressed

as 1:78:1. Concurrently, all 16x9 programming must be center-cut extractable to the 4x3 aspect ratio,

without the need for pan and scan or repositioning of shots. All text, including main titles and end

credits must fall within the 4x3 title-safe area.

While composing each shot, every effort must be made to keep all main subjects and action within the 4x3

area of the 16x9 frame. The entire 16x9 picture area must be free of all non-story elements such as lighting

equipment, camera hoods, microphone booms, etc.

GENERAL MASTERING FORMAT

Head Format - All video masters will have the following head format:

(00:57:50:00) 60 seconds of SMPTE reference bars and 1K tone

(00:58:50:00) Slate – 10 seconds in length

(00:59:00:00) Countdown/Black set at 0 mV, 60 sec. in length

(01:00:00:00) First Frame of Program

The first 30 seconds of a program must be free of supers or matte material in the upper left or upper right

corners of both the screen area (beginning at 4x3 safe,) to allow for program rating and closed captioning

bug insertions. Also, do not place text in the lower left and right corners of picture (beginning at 4x3 safe)

for the first 30 seconds of program. This space is used for logos, show titles, etc. In addition, the lower-

left corner must always be free of critical action (such as characters speaking) so as to allow for the

network logo.

Producer Tech Specs 8-2011 4

Breaks - When programs are broken into segments, all breaks must be 12 frames in duration for 23.98

fps programming (1/2 second.) (NOTE: 1-second commercial blacks are no longer required nor

accepted!) The duration of a break will be defined as follows:

The area of black, from the point when both video and audio cease to be present,

to the point when either video or audio (whichever comes first) becomes present

again.

For example, if a break has 24 frames of video black between segments, but the outgoing segment has 12

frames of audio ring-out trailing into the black, then the duration of the break is 12 frames since only 12

of the 24 black frames are devoid of both video and audio.

VIDEOTAPE LABELING AND SLATE REQUIREMENTS

Videotape shall contain the following information on tape labels and slates:

DISNEY ABC TELEVISION GROUP

Full Program Title (including year, when applicable)

Episode title

Domestic Episode Number/Foreign Episode Number (if applicable)

Production number (if applicable)

Aspect Ratio

Video Codec Description (ProREs HQ/1080p 23.98)

Audio Configuration – (specific technical audio information, including complete breakdown

of the contents of each channel)

Exact program run time (minutes and seconds). Run time should include commercial breaks.

Timecode type

Name of manufacturing vendor

Indications of textless backgrounds and bumpers 60 seconds after end of program

Production Company

Date Created

HD VIDEO SIGNAL SPECIFICATIONS

First Active Line Line 21

Last Active Line Line 560

Maximum Luminance 714mV

Maximum Chrominance N /A

Picture Black 0mV

Color Display SMPTE 274/ITU 709

HD POST ASSEMBLY REQUIREMENTS

In order to ensure the integrity of multiple down-converted formats, a high level of digital resolution must

be maintained throughout the post assembly process. HD material must be captured at 10-bit color depth

and on-lined uncompressed or with a lossless compression scheme. Any deviations from this requirement

will require prior approval from the Disney ABC CNG Production Department.

Mixed frame rates within programs are not permitted. Vari-speeding, editing between frames, and any

other practices that corrupt the 23.98 segmented-frame sequence are not permitted. Any graphics or effects

added or layered to the HD material during post assembly must match the 23.98 segmented-frame sequence

perfectly and must be of equal or higher resolution.

Producer Tech Specs 8-2011 5

25-to-23.98 CONVERTED RUN TIMES

If an original production is produced at 25 frames per second (requires approval by Production Dept.,) the

program segments must be built approximately 4% shorter than the required lengths, due to the slow-down

that occurs during frame-rate conversion. Below are the 25-frame rate equivalents to sample 23.98 fps run

times of some ABC Cable Networks Group‟s various format requirements. Moving left to right, the

numbers represent minutes, seconds and frames. As follows:

Sample Run Times:

23.98 fps 25 fps

52:00:00 49:52:06

24:00:00 23:01:01

22:30:00 21:34:18

21:20:00 20:27:15

01:00:00 00:57:14

00:30:00 00:28:20

00:05:00 00:04:20

Please coordinate with your Production Department executive prior to editing 25 fps programming

intended for 23.98 conversion.

PSE (Photo-Sensitive Epilepsy) SAFETY

All programming must conform to the PSE safety guidelines as outlined by the ITC Guidance Note of

2001, and regulated by Ofcom/ITC. This is to ensure the safety of viewers that may be susceptible to

epileptic seizures brought on by certain visual stimuli such as bright flashes and various line patterns.

All originally produced programming is subject to testing by Disney ABC Cable Networks Group for PSE

safety, through the Harding Flash and Pattern Analyzer. Any material that fails the Harding analyzer must

be modified so as to render a passed Harding test report.

Disney ABC Global Compliance will work closely with producers to bring failed programming up to safe

PSE standards. In the meantime, the following guidelines may prove helpful to producers to prevent PSE

failures:

Flashing - Repeated luminance or red flashes that take up 25% or more of the screen area should be

avoided. Any such flashing, when repeated more than twice per second will cause PSE failure by

the analyzer. Likewise, any significant contrast changes (10% or more) in the picture, repeating at

the same frequency may cause PSE failure.

Patterns – Though hard to predict, spatial patterns such as large areas of horizontal or vertical lines

can trigger PSE failure. Examples of such patterns are backgrounds designed to look like school

notebook paper and prominent expanses of checkered tile flooring.

To identify problematic sequences early in the animation or production process, it is highly encouraged that

producers submit suspect scenes to Disney ABC Global Compliance, via their Production executive, as

soon as available. Such material should be submitted on either Digital Betacam or DVD.

For more information on PSE safety and the Harding Flash and Pattern Analyzer, please visit the Harding

website at http://www.hardingfpa.com/resources/photosensitive-epilepsy-pse/ Further details can also be

found in the Broadcast Standards and Practices section of the Producer‟s Handbook.

Producer Tech Specs 8-2011 6

TELEPHONE NUMBERS & LICENSE PLATES

Any telephone numbers or auto license plate numbers that appear legibly on screen must be cleared for air.

U.S. on-screen telephone numbers must fall into the 555-0100 to 555-0199 range, and can contain a valid

area code, as well as 800 and 860 toll-free area codes. International on-screen numbers must either be

cleared legally or have a lesser amount of digits than would be required to successfully dial that number

from either the U.S. or abroad.

AFTER EFFECTS FILES

Please provide After Effects project files (the „collect‟ folders) for all “graphic heavy” texted sequences,

(especially main titles) as well as low resolution graphics proxies of finished graphics and/or visual effects.

Project files should include all mattes, alpha/fills, layers, text sequences, logos, font style, etc. Files can

include audio when applicable. Discs or hard drive delivery are both acceptable and should depend on the

size of the project.

TEXTLESS

Textless backgrounds are used by international territories to ultimately replace English text on a video

picture with text of any particular language. The territory‟s text is superimposed over the clean, textless

background to reproduce the original shot, and is edited into the program, over the original.

TEXTLESS REQUIREMENTS

Producer shall supply completely textless backgrounds (absolutely no text) recorded 60 seconds after end

of program. These textless backgrounds shall be supplied for any shots within the show which contain text,

including but not limited to main titles, end titles, episodic titles, subtitled scenes, and any explanatory titles

(such as dates, locales, character names, closed captioned and stereo buys, etc.). Textless backgrounds are

also required for any shots containing phone numbers that do not adhere to the clearance requirements

sated in the prior “Telephone Numbers and License Plates” section. This includes both practical elements,

such as video screens, props, set dressing, etc, as well as electronically generated numbers. The textless

background section shall be preceded by a video slate specifying the textless materials to follow. All

textless material shall be M.O.S. for all four channels. (See next section for examples).

Said textless backgrounds shall be comprised of each entire shot (“hard cut to hard cut”, including a 2-

frame handle on the head and tail of the shot), which corresponds to a shot containing text. Textless

backgrounds-shall contain any and all photographically or electronically generated effects present in the

video master, including but not limited to fades, dissolves, wipes, blow-ups, hold-frames, and multiple

exposures. There must be at least 7 frames of black in between each textless shot/sequence.

Bumpers shall be included in this textless section in both texted and textless forms, and shall contain

corresponding audio. Further information regarding textless requirements is available. Please contact your

Production Executive.

WHEN TEXTLESS IS REQUIRED:

The general rule is any shots containing “electronically generated” text or “photo-chemically generated”

text must have matching textless material. Such text is applied to the program after the scene has been

shot. With animated product, such text is often created as part of the animation, but made to appear as

generated text.

Producer Tech Specs 8-2011 7

Credits:

The most common use of this type of applied text is main titles and end credits. These will always require

textless backgrounds unless the English text is over black. Other common forms of applied text requiring

textless backgrounds are that of episodic title cards and episodic titles.

Text Within Program:

Text that is generated and/or superimposed over picture to inform the viewer of dates and locations require

textless backgrounds. Examples: “London – 1812” and “five hours later.” Another example of text within

program is “To be continued…”

WHEN TEXTLESS IS NOT REQUIRED:

Set Pieces:

English text viewable on objects and scenery (set pieces) which are then shot by the camera is not required

to have matching textless backgrounds. Examples of this would be text on signs, posters, store fronts, and

brand names on props. This rule also applies to animated product, where the text was intentionally created,

but theoretically shot by the virtual camera.

QUALITY CONTROL

If a video master file or audio stem files are rejected by ABC Cable Networks Group because of technical

defects, Producer shall repair said master and replace it in part or in full based on the Quality Assurance

department‟s recommendation.

If the file has failed and needs to be fixed, a full replacement of the file is required (see original HD ProRes

specs) with the original QA report notating the repairs. We do not accept “spot file fixes”.

The new file shall be sent to the same ABC Cable Networks Group Network distribution list within two

business days of receipt. A hard copy of the original QC report must be included in the hard drive case or

sent accordingly with notations indicating the repair status of all rejected impairments. That is to say, each

3-rated impairment must have a notation beside it stating that it has been fixed, or an explanation as to why

not. If a rejected impairment is not to be fixed, the Production Department must be notified prior to re-

delivery of the material.

AUDIO SPECIFICATIONS

AUDIO LEVELS

Note: To allow for the various number conventions found in different audio meters and audio

equipment, the below levels are all stated in relation to the reference point described above (0dBu, or -

20dBFS.)

2.0 LT/RT Peak Levels

There should be no sustained (longer than 1 second) audio level peaks above +12dB over reference.

There should be no level excursions between +10Bb and +12dB over reference, that are sustained for

more than one second. Excessive wide dynamic range is not acceptable. Normal conversational

dialogue is to stay within +2dB and +7dB over reference. Light foley and cloth should register above –

30dB below reference to be heard over any inherent tape noise. Any discernible dialogue crosstalk

Producer Tech Specs 8-2011 8

will be eliminated, providing that existing materials have not been compromised. Crosstalk noted

under –50dB below reference is considered acceptable and will not pose a problem when mixing with

re-recorded foreign dialogue.

5.1 HD Audio Peak Levels

All HD audio specifications remain the same as our standard definitions specs, with the exception of

peak audio levels. Brief peak audio levels within the 5.1 mix may reach +20dB over reference,

provided there is no signal distortion. Peak levels within the Dolby Pro Logic mixes delivered as part

of the HD delivery however, (see below configurations) must adhere to our standard definition specs as

detailed above.

Digital Sampling Rate

Will be sampled at 48khz unless source was originally recorded at a 44khz sampling rate.

Audio Compression and Limiting

Use of audio compression or limiting to achieve the required audio levels or prevent peak distortion is

permitted only if such use does not induce audible defects. Over-compressed audio or “clipped” audio

will not be accepted.

Mono Compatibility

All stereo mixes must be fully mono compatible. Any sonic elements audible in stereo mixes must be

also audible when collapsed into a mono signal.

Music and Effects (M&E) Mixing

Foreign M&E tracks should cover all of the music and effects as heard in the original composite mix, with

the exception of laugh tracks and human vocalizations (see below.) They should match in quality of

sound and perspective. Music and effects tracks created for ABC Cable Networks Group are to be created

in stereo as follows:

Crowd Walla - All crowd walla and background conversation containing discernible English must be

replaced with “neutral walla” (walla in which English words cannot be heard) in the M&E. Police

radios, TV and radio broadcasts, etc. that have discernible English must be removed from the M&E.

These effects can be augmented with a generic, non-discernable version. Music or effects that occur

on a TV or radio program within the show should remain in the M&E.

Human Vocalizations – All vocalizations (sighs, coughs, grunts, burps, etc.) performed by actors with

speaking roles or featured non-speaking roles should be kept OFF the M/E track. Human vocalizations

that are taken from licensed effects libraries should be included on the M/E track. Likewise, simulated

vocalizations that are electronically produced should also be included on the M/E track.

Music Vocals – Please consult your Production executive when using songs with vocals. (This

includes any Karaoke performances, songs either on-camera or off, songs on a radio/jukebox). There

are many legal points that need to be considered before a decision can be made on whether or not

vocals should exist on the M/E tracks, and the determining factors can change from song to song. In

addition, be aware that any song performed on-camera will almost always require an accompanying

instrumental-only version as a separate stem. Note: This may require a second, non-vocal

performance of the song to be recorded on-set or by the show‟s composer.

Practical Effects - Police radios, TV and radio broadcasts, hospital PA, etc. that have discernible

English in the composite track must be removed from the M&E. These effects can be augmented with

a generic, non-discernable version. Music or effects (only) that occur on a TV or radio program within

the show should remain in the M&E.

Producer Tech Specs 8-2011 9

Ambience & Room Tone - Background ambiance must be identical to that available on the original

production dialogue track. Air fill, presence, outdoor tone or appropriate room tone should run

throughout the dubbed program to compensate for this “dead air.” This should be a natural sound, and

not resemble tape hiss. The appropriate backgrounds present in the original composite mix are also

required. Backgrounds such as TV or radio shows, music or traffic should change perspective if a door

opens or closes or if the action moves to another location. For example, interior and exterior car

presence should be reproduced accurately.

Effects - All on-screen moving effects (footsteps, traffic, etc.) that are present within the original

version must be covered or duplicated as realistically as possible in the foreign M&E. Noises such as

eating, biting, slurping, kissing bubble-gum pops, whistling, snoring should be in the M/E, if and only

if they are in accordance to the instruction found above under “Human Vocalizations.”

Any character that never speaks a known language but does make vocal effects such as animal noises,

mimicking sound effects, or gibberish should be provided by the production company and included in

the M/E , if and only if they are in accordance to the instruction found above under “Human

Vocalizations.”

Foley - Body movements and cloth should be covered. This includes, but is not limited to sit-downs,

gesturing, arms down to sides, pats and slaps on the back (or other body parts), handshakes, etc. The

texture of the cloth and the type furniture must be taken into consideration when augmenting any

movement.

Footsteps - Unless there is a compelling story point or creative reason not to include them all, footsteps

will be covered, both in the composite mix and the M/E. Footsteps should be foleyed, and not taken

from an effects library. Perspective, weight of character walking, texture of surface, etc. must be

matched as closely as possible. Dog paw clicks, horses, or other animal sounds should also be foleyed

appropriately.

Laugh Tracks – If present in the composite mix, a stereo laugh track must be built to match the

composite mix, in terms of sync, quality and dimension. The laugh tracks must be free of English

dialogue and augmented to match the composite mix. However, the built laugh tracks are NOT to

be mixed into the M/E tracks, but are to be kept separate and supplied per the requirements

detailed below in “Audio Master Delivery.”

Optional Tracks – Foreign dialogue, narration, announcers, whether spoken by a main or ancillary

character must be included as a separate audio stem in the optional track (and kept off the M/E

stems).

HD Audio Mixes and Configurations

All HD programming will be mixed in both 5.1 and left-total, right-total (LTRT) stereo, with mono

capability. Any delivery of HD programming without 5.1 audio mixes must have prior approval of the

Production Department. The 5.1 must comply with the Dolby 5.1 Channel Guidelines, with the

following track configuration:

Left Front, Right Front, Center, LFE, Left Surround, Right Surround.

In addition, the 5.1 mix must be properly encoded to Dolby Surround, as a left total-right total stereo

format. The final audio delivery will include both formats, comprising of a 5.1 English composite mix,

a 5.1 M/E mix, and Dolby Surround LTRT mixes of each. The M/E track will be mixed in compliance

to our current standard definition audio delivery spec.

To allow for multiple format use, including down-conversions to Digital Betacam, the final HD master

will contain all of the following: 1) a 5.1 English composite mix, 2) a Dolby Surround English

Producer Tech Specs 8-2011 10

composite mix, 3) a Dolby Surround M/E mix, and when applicable, 4) promotional-use split tracks

(see below):

For delivery masters, when music and effects are being built and provided by the producer, the

following configuration will be:

Ch. 1 through 6 = 5.1 English Comp. (discrete)

Ch. 7 & 8 = Stereo English Comp

Ch. 9 & 10 = Stereo M/E

Ch. 11 = Mono Dialogue (promo split-track)

Ch. 12 = Mono Effects (promo split-track)

Ch. 13&14 = Stereo Music (promo split-tracks)

For delivery masters, when music and effects are NOT being provided by the producer, the

following configuration is required:

Ch. 1 through 6 = 5.1 English Comp. (discrete)

Ch. 7 & 8 = Stereo English Comp.

Ch. 9 = Mono Dialogue (promo split-track)

Ch. 10 = Mono Effects (promo split-track)

Ch. 11 & 12 = Stereo Music (promo split-tracks)

Note: In productions where music and effects will not be provided by the producer, all separate audio

stems used to build the English comp. mix must be organized and provided, so as to allow for efficient

creation of an M/E track by ABC Cable Networks Group.

For delivery masters of “sitcoms” in which laugh tracks are used, the following configuration is

required:

Ch. 1 through 6 = 5.1 English Comp. (discrete)

Ch. 7 & 8 = Stereo English Comp.

Ch. 9 = Mono Dialogue (promo split-track)

Ch. 10 = Mono Effects (promo split-track)

Ch. 11 & 12 = Stereo Music (promo split-tracks)

Note: In productions where laugh tracks are provided by the producer, the tracks must be clear of all

English dialogue and match the duration, timing and quality of laughs found on the English

composite mix. All separate laugh stems used to build the English Comp mix must be organized

and provided, so as to allow the option for foreign use and availability. Again, the stems are to be

kept separate and supplied per the requirements detailed below in “Audio Master Delivery.”

HD AUDIO DELIVERABLE REQUIREMENTS

Audio masters for all HD projects will be delivered in 5.1 and stereo LTRT, unless otherwise approved by

the Production Department. All tracks must be in perfect synchronization with the video master, and will

adhere to the audio specifications detailed on pg. 10.

Delivery of entire ProTools sessions is encouraged. However, the following complete mixes must be

delivered, in the file delivery format described above:

1) English comp print master in 5.1

2) English comp LTRT stereo final mix

3) M/E complete 5.1 mix (when applicable)

4) M/E complete LTRT stereo mix (when applicable)

Producer Tech Specs 8-2011 11

5) Stereo Laugh Track (when applicable)

6) Neutral Latin American Spanish LTRT stereo mix (when applicable)

In addition, the following mix stems will be provided as applicable:

English Dialogue L Effects L

English Dialogue C Effects C

English Dialogue R Effects R

English Dialogue LS Effects LS

English Dialogue RS Effects RS

Effects LFE

B.g. L Music L

B.g. C Music C

B.g. R Music R

B.g. LS Music LS

B.g. RS Music RS

Music LFE

Foley L Vocals L

Foley C Vocals C

Foley R Vocals R

Foley LS Vocals LS

Foley RS Vocals RS

Laughs L* Optional L

Laughs C* Optional C

Laughs R* Optional R

Laughs LS* Optional LS

Laughs RS* Optional RS

*Laughs need to be delivered when applicable, such as with sitcoms. Likewise, if optional tracks such as foreign

languages or announcers are used, they must be provided as additional mix stems and properly labeled.

FINAL AUDIO MASTER DELIVERY

Digital files from Pro Tools are the required medium for the delivery of audio masters. The preferred

delivery method of these files is via Aspera Faspex, a proprietary delivery system by Aspera. Any other

method of file delivery, such as hard drive or DVD-R, requires approval from the Production Department.

Likewise, tape delivery (DA-88), in lieu of file delivery also requires approval.

Digital File Requirements:

Pro Tools Versions: 7.4 or higher (select “enforce Mac/PC compatibility” checkbox)

Format: Broadcast Wave

Resolution: 24 bit, 2000 samples per frame

Timecode frame rate: 23.976 fps or 29.97 fps, to match video origination.

Delivery addresses:

MAM.US@BVPost.com

Producer Tech Specs 8-2011 12

TWDS.MAMUS@disney.com

DATG.DL-iDigiDelivery-Branded@disney.com

A completed information form, or “metadata sheet,” which will be provided by the Production Department

as an Excel file, must also be included within the digital file delivery. When using Aspera Faspex, please

use the following details: https://charles.wdsspt.com/aspera/faspex.

ASPERA FASPEX GENERAL INSTRUCTIONS

Instructions for sending Electronic assets to Disney ABC International TV & Disney Inventory Services

Account Setup:

An account is needed to send files via Aspera Faspex. Please e-mail the following information to

TWDS.SPTHelp@disney.com & Kelly.Ellersieck@disney.com to create an account: Vendor name, Users First &

Last Name, User e-mail address, User Phone #.

Sending Files:

To send files, log into the Disney Aspera Faspex Server: https://charles.wdsspt.com/aspera/faspex

Send the assets to the following e-mail addresses:

DATG.DL-iDigiDelivery@disney.com; mam.us@bvpost.com; TWDS.MAMUS@disney.com

Your DAIT Coordinator will advise on which additional Vendors the assets should be sent.

Send the Audio Stems, MFX and Print masters to the required vendors and Disney Inventory.

Assets to Deliver:

Typical Delivery Elements: The following elements should be delivered via Faspex:

Printmaster Supersession, Music and Efx Supersession, Stems Supersession:

Printmaster Supersession (PMSS) (5.1/2.0 Print masters- Theatrical, Nearfield and DC),

Stem Supersession: (STMSS) (5.1/2.0 Dialog Stem, Music Stem, Effects Stem, Optional Stems),

MFX Supersession (MFXSS) (6+2 Music & Effects Master Theatrical & Nearfield, 2.0 MFX, 2.0 DME, 2+2+2

MFX).

Also include a completed track sheet in the folder with the session (see attached Example 1).

File Naming Structure:

Please use the following structure when naming files for delivery:

Title_Version_Asset Type_Track Info_Frame Rate_Language

LOGIN TO ASPERA FASPEX:

Producer Tech Specs 8-2011 13

Login: To log in, go to the WDP Charles Faspex website https://charles.wdsspt.com/aspera/faspex

Note: An account is required to send material. An account is not required to receive.

The following graphic shows the New Package screen. In the Create and send package form.

Click Send Package! When finished:

Figure 1

Instructions for Sending a package via Faspex (See Figure 1)

A: TO: Use the TO section to address Who the package will be sent to. Enter the recipient‟s e-mail addresses.

Multiple e-mail addresses should be separated by commas. Addresses can be typed, pasted or selected from the

contacts menu. A user does not need an Aspera Faspex account to receive a delivery.

B: Contacts: User‟s can be selected by clicking on the Contacts link. Use the Search box at the top of the form to

find users by name or e-mail address. Click on the desired names and they will be added to the recipient list.

C: Title: Use the Title Line to Name the delivery. The information entered into the Title Line will appear in the

Subject Line of the e-mail notification.

Producer Tech Specs 8-2011 14

D: Notes: Use the Notes Field to describe the contents of the delivery. Include the following information in the

Notes Field: Product Title, Episode Number, Language, and Description of the File types included in the delivery,

(Audio, Pro Tools sessions, Print Masters and MFX masters, Video IMX 30 etc.). Include the Senders contact

information (name, e-mail address and phone number). Include notes and instructions for the Recipients (example,

Sent to: Vendor Name, Attention to: Vendor contact). Enter descriptive information in the notes field so the recipient

knows what is in the package.

E: Select Content: Use the Contents section to add folders and files to the delivery package. Click on the Browse

button to select content from your directory structures. Click on the Box icon to enable the Drag and Drop function.

F: Send Button: Use the Send Button to send the completed package to the recipients.

Confirm Delivery:

When a transfer is initiated, Aspera Connect will launch to start the session. Click Allow when the confirmation

dialog window appears. Check the box next to Use my choice for all transfers to this host to not be prompted every

time you initiate a transfer.

Add Passphrase:

When your transfer is started, Aspera Connect will prompt for a passphrase to be used for encrypting the package.

Enter the passphrase in both boxes and press Continue to send the package.

Please use this Passphrase for all deliveries: DAITASSETS

The Deliveries should be sent to the following Email addresses:

DATG.DL-iDigiDelivery@disney.com; mam.us@bvpost.com; TWDS.MAMUS@disney.com

Producer Tech Specs 8-2011 15

Producer Tech Specs 8-2011 16

FORMAT (Varies by network, assigned by Production/Legal)